Jul 31 2024
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Aqualung
Jethro Tull
+Great Arrangements
+Creative Song structures
+Accessible prog rock
-Not as daring, or as innovative as other prog rock albums.
4
Aug 01 2024
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Blackstar
David Bowie
Like a lot of Bowie’s later LPs - I like it, it’s sonically solid, and it has a few standouts. But I find it bland and uninventive in a lot of places. I don’t mind it being self indulgent (he’s one of the few artists out there who has earned it for sure), but his death definitely elevated this release.
3
Aug 02 2024
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Dire Straits
Dire Straits
This a really solid LP. The variety of soft rock, folk, and country - while keeping the atmosphere as tight as it is - is very impressive. I’m also addicted to a lot of the guitar licks and riffs throughout. These guys seemed to have everything figured out for a debut album.
4
Aug 03 2024
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It's Blitz!
Yeah Yeah Yeahs
I’m not overly familiar with this band; only a track here or there.
I think this is one of the better LP’s that fuse rock and electronic together. One never seems to outshine the other, so they’ve struck that perfect balance. The ethereal ballads help to keep it grounded, and they are really good.
Karen O’s voice is also phenomenal and seems to be fairly versatile. I’ll definitely check out more of their discography in the future.
Really good album.
4
Aug 03 2024
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Lost In The Dream
The War On Drugs
I think there’s definitely some highlights to be found here; but the musicality was lacking to the point to where, at times, tracks just sort of blended into each other.
It’s a pleasant listen, for sure. I just think this is the kind of album that you’ll find hearing as background music in a music shop, more than something you’ll go out of your way to listen to.
So while it’s not a bad LP, it’s also not a very interesting one.
3
Aug 04 2024
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From Elvis In Memphis
Elvis Presley
I don’t personally see the appeal of Elvis, and I never have. I understand his cultural impact for the time - but I never connected with much of the material he sang.
He was a mere performer, and I think others did rock n’ roll better before his time, during his time, and after his time. This LP did not change my view on it. It’s well produced, and there isn’t any particularly bad songs on it. It’s just standard ass Elvis to me.
The whole time I listened to it, I kept thinking of other artists who could probably do these songs more justice; with the exception of a couple of tracks.
2
Aug 05 2024
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Blue
Joni Mitchell
Not usually the kind of album I go out of my way to listen to, but I’m glad I did.
Lyrically it’s a really solid LP, and Joni’s voice sounds great; her voice is technically great, yet still has a raw honest edge to it.
I just feel the overall album is a bit of a slog to get through. It’s a very somber record. But from a musicality standpoint it sort of loses its momentum with me as it goes on. I like variety in my LP’s, and very few genres can hold my interest unless there’s a bunch of different flavours thrown in the mix.
I give this album a 3 - but it’s a high 3.
3
Aug 06 2024
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(What's The Story) Morning Glory
Oasis
I’m no fan of Oasis at all. During the big “Oasis or Blur?” debate of the 90’s - I had my feet firmly in the camp of Blur. That’s still the case, even though nobody talks about it anymore.
I find Oasis limited as musicians, Liam’s voice, while unique, isn’t the best. Noel’s songwriting can be fairly derivative of The Beatles and his guitar playing doesn’t really bring anything new to the table. But I can’t really deny this album is a perfect work to represent the Britpop movement that swept the world in the 90’s; and it has also aged incredibly gracefully.
The pop sensibility on display is actually pretty astounding. And almost every track is an absolute banger to the point you could tell someone who hasn’t listened to Oasis that this is a greatest hits compilation and they’d believe you.
So as I said - I’m no fan of this band whatsoever. But I’m not going to deny a fantastic LP when I hear one. In this 1001 (or 1089) album challenge, ‘…Morning Glory’ gets my first perfect 5/5 rating.
5
Aug 07 2024
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Pills 'n' Thrills And Bellyaches
Happy Mondays
The best way I can describe this LP is like walking into an ice cream shop. You can probably find whatever flavour you’re looking for, it’s just impressive that the flavour you’re looking for is available.
There’s a base of funk to every track. But every track has a different layer. Low-fi, hard rock, pop, acoustic, to borderline carribean. And it all effortlessly blends in together to the point you almost feel like you’re on a trippy musical journey.
I also love how everything feels loose. There’s almost an intentional disconnect between the music and vocals that just somehow works here. It has a defiant post-punk feel to it.
Really solid LP.
4
Aug 08 2024
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Rumours
Fleetwood Mac
This is an absolutely perfect LP.
The musicianship is top notch, the melodies are addictive, the production is slick, the tight tracklist leaves you satisfied yet wanting more, and the vocals are just the chefs kiss on top of it all.
From the light opener, to the string of hits (Dreams, Don't Stop, Go Your Own Way), stopping by a beautiful ballad (Songbird), to a second half that starts with the infamous 'The Chain' and ending it all with four more tracks that could have easily been hit singles, as well.
It certainly feels like a band at their absolute creative peak, yet we all know the problems that plagued them at the time. It sounds cliche to say, but the fact they were able to come out with this album despite everything is absolutely astounding.
I also feel like giving it a 5 is a bit cliche. I also don't really care if it is; because 'Rumours' deserves it.
5
Aug 09 2024
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Live And Dangerous
Thin Lizzy
I'm honestly never sure how to rate or review a live album. They're never really on my list when I want to listen to an artist's discography.
This is a fine album? The musicianship is pretty damn tight, the performances definitely feel energetic, and the tracklist flows really nicely. I suppose your opinion on this LP will simply depend on how big of a Thin Lizzy fan you are; and I wouldn't class myself as a big fan.
So if you're a big fan, this would probably be an easy 5. If not, it will teeter around the 3-4 mark. For me, it's a 3. If parts of this album came on while I was driving, I wouldn't complain. But I wouldn't be turning the volume up in excitement, y'know?
I appreciate Thin Lizzy to at least some degree, they were just never really up my alley. However, if you were looking for a good introduction to the band this would actually be a good starting point.
3
Aug 10 2024
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Get Behind Me Satan
The White Stripes
This is one fun ass LP.
It's classic, yet modern. It's rock 'n' roll, yet very pop in places. It's rough and grungy, yet has slick production. It feels like Jack White wears his heart on his sleeve, but has no problem moulding it into something that fits the band.
My knowledge of this band has been strictly what the radio and/or television has presented me with over the years. So I had a rough idea of the sound of 'The White Stripes’. But I didn't expect an entire album to surprise me with its versatility and depth.
I often hear about the genius of Jack White; so it's nice to finally experience at least a taste of it here. I may just dig deeper into this discography.
4
Aug 11 2024
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Slayed?
Slade
I’ll preface this by saying I was never a fan of Slade.
If I could describe this LP in one word, it would be ‘inoffensive’ (from a musical perspective), or ‘outdated’. It simply feels like a product of its time and nothing really strikes me as a standout throughout the tracklist.
The band seem to be straddling a fine line between what I now consider ‘grandad rock’ (like Status Quo), and early glam rock (but they’re just barely holding onto that one in this album).
I found Holder’s vocals to be irritating, repetitive, and try-hard. The musicianship feels uninventive. And most of the songs were, for lack of a better term, boring. The whole album just lacks originality.
I don’t feel like there’s anything substantial to set Slade apart from other bands around that era - and there were a lot of great bands who were in their absolute prime then.
In short - this album is totally forgettable and I think there is a vast amount of similar works that are more deserving of a spotlight.
1
Aug 12 2024
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Smash
The Offspring
There’s a certain charm to early 90’s pop punk. It’s not as slick and glossy as it became in the early 2000’s, and it seemed to be filled with bands that - despite their success - didn’t seem to care.
The Offspring’s ‘Smash’ really captures the era it was released in. It’s raw. It’s energetic. It’s naive. It’s angsty. It’s dumb. It’s smart. And it’s just fun.
The heavy riffs are addictive. The lyrics resonate with a lot of us who were young when this was released. And I would rank it high enough with a lot of early pop punk LP’s.
A must listen to any fan of the genre.
4
Aug 13 2024
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Maggot Brain
Funkadelic
Wow.
Where to even begin describing this LP?
From the haunting, ethereal title track with its dark atmosphere and soulful guitar playing, down to its final song ‘Wars of Armageddon’ with its psychedelic backdrop to a brilliant sound collage; this album is a masterpiece.
From a musical standpoint you’re getting R&B, soul, psychedelic rock, hard rock, funk, folk, rock ‘n’ roll, to hints of prog rock. All fused together to create this strange, yet endearing selection of 7 songs. It takes you on this eclectic journey with absolutely no apologies; and I love it.
While this was released well, well before my time. Lyrically it feels like an honest critique on society at the time. Its simple lyrics are humble, yet raw and undeniable; topping its diverse explosion of genres with a layer of punk rock attitude.
‘Maggot Brain’ is an absolutely mind blowing album. When this came up on the list I listened to it another 2 times throughout the day because it’s just that damn good.
Easy 5/5.
5
Aug 14 2024
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Hybrid Theory
Linkin Park
I don’t think ‘Hybrid Theory’ is an egregiously bad album. I actually think the band have some good ideas here, and I think they knew the kind of nu metal/hip hop sound they were going for from the beginning. It’s just poorly executed overall.
Lyrically, the songs are amateur and feel like there's no conviction behind them. As if they were looking around the scene at the time to see what sells and went all in with it. While the hip hop elements feel like the kind of stuff you would come up with when you naively thought you were an aspiring rapper in your pre-teen years.
And from a musical standpoint there really isn’t much that stands out. The riffs feel extremely basic, horribly distorted (a cliche of many nu metal bands back then), and uninventive; and a lot of tracks have a grandiose feel to them, but lack any real memorable punch to help them along.
If you do even a basic scan of the nu metal scene in the early 2000’s you would find a plethora of bands who were more interesting, and far less concerned with being radio friendly, at the time.
In my opinion I think ‘Hybrid Theory’ hasn’t aged well. It was overrated then, and it is probably more overrated now.
2
Aug 15 2024
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Black Monk Time
The Monks
I wonder if it is just a region thing, but this album was not on any music streaming service available to me. So I had to find this one on YouTube; and I find it a shame because I would love to have it in my library. Perhaps I'll hunt down the physical LP?
This is the one of the reasons I started this whole thing: I wanted to force myself into listening to a diverse selection of music. But I also wanted to discover hidden gems that I otherwise would have went my entire life not knowing about.
I wasn't familiar with this band at all. Their origin story is quite interesting and unique, which I think is completely projected on this album.
They seemed to be very much a product of their era, yet had a vision that was totally ahead of its time. The psychedelic elements are straight out of the late 60's, but their punk rock elements were almost an entire decade too soon. I can understand why 'Black Monk Time' isn't on some bestseller list, but I'm also retroactively frustrated about it.
This is a pure record. It is raw, it is primitive, it is daring (for its time), and the world of music took considerable time catching up to it. This is definitely a band that deserve a lot more credit than they are getting.
A must listen if you like psychedelic rock. But also a must listen if you like punk in its most stripped back form.
4
Aug 16 2024
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John Lennon/Plastic Ono Band
John Lennon
I won’t even beat around the bush here - I’m a huge John Lennon fan. So when this album popped up I already knew what I thought of it, having listened to it more times than I can count.
After all the bells and whistles that came with producing Beatles records, John certainly took his own path as the band were on their way to breaking up. His experimental albums with Yoko (Unfinished Music Vol. 1 & 2, Wedding Album) were by no means chart topping hits, but it certainly showed that John wasn’t too concerned about what the public thought of his work at the time.
That was true even when he released ‘John Lennon/Plastic Ono Band’. Make no mistake, this isn’t a very radio friendly LP. And upon its release (at least from what I have read), it wasn’t all that well received from critics; and its reputation only grew over the years and decades that followed. Part of it you could attribute to critics licking their lips in excitement to dissect any solo Beatles effort. While another part you could definitely attribute it to is the fact that 'Plastic Ono Band' was just so vastly different from anything he did with The Beatles.
I always refer to this as Lennon’s “therapy” album. In the latter half of The Beatles time, John’s lyrics were getting a LOT more introspective in general. But with ‘Plastic Ono Band’ it feels like he completely opens the curtain to invite the listener in.
This is him at his most angry. At his most sad. And in his most vulnerable state. This LP is essentially the chronicles of a man who found himself at a mental low point presenting us with his journey of self realization through some hard self reflection; and letting us hear how he views society at large.
While from a music and production standpoint things are kept quite simple as a means to let the lyrics shine, I do also feel the simplicity somehow adds to the overall mood. Particularly the distorted, grungy guitar littered throughout the tracklist. But it's not without moments of clean acoustic songs and piano ballads.
When you do listen to this LP - I recommend the version that has the three bonus tracks: Give Peace a Chance, Cold Turkey, and Instant Karma! (We All Shine On). These were singles that did not appear on any of his studio albums and they are well worth your time.
5
Aug 17 2024
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Electric Warrior
T. Rex
I remember the times my dad introduced me to his record collection when I was a kid. He had a fair chunk of T. Rex in there. I enjoyed nearly everything he introduced me to, but it's almost like a I hit a brick wall when he played anything from this band. I found nothing interesting there.
However, they have made their way onto my radar again with this randomised list. So I genuinely gave ‘em another shot and it turns out I’m still not a fan as I straight up found this LP completely boring.
There’s very little creativity on display in a musical sense, and virtually no sense of energy in many of the songs throughout the tracklist. The few times a bit of experimentation is thrown in it adds almost nothing to it. I don't know what it is, but outside of the chorus on the big hit 'Get It On' (or 'Bang A Gong'), there is almost no enthusiasm behind the instruments whatsoever.
Bolan's vocals also leave a lot to be desired. It even feels like he is singing without any true confidence; as if he is holding himself back on purpose to get that 'cool cat' effect. It's frustrating to listen to.
I wouldn't really mind any of this as much if the band actually had something substantial to say to balance things out; but they don't.
Perhaps I have just learned, through this list so far, that I'm simply not a fan of the glam rock genre, given my previous rating for a Slade album. Because similar to that Slade album 'Electric Warrior' has aged like milk in comparison to a lot of the fine wine from the stacked era of the 70's.
1
Aug 18 2024
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Listen Without Prejudice Vol. 1
George Michael
I’m actually very surprised by how much I enjoyed this album. George Michael wasn’t someone I would typically listen to when he was frequently on MTV - as I swung more into rock territory (and boy, was this man on MTV quite a lot back then).
Of course, we all know the hit ‘Freedom’. But it feels like an outlier here; as if this was to get the radio hit out of the way because this is more of an acoustic/soul LP. Not that ‘Freedom’ is bad, it’s actually a banger. It’s just that there is so much more to the tracklist.
George Michael legitimately has a great voice. His control was on point, he had a soothing tone, and his range was actually quite surprising. The best example of this is on the phenomenal cover of Stevie Wonder’s ‘They Won’t Go When I Go’.
George’s lyrics are quite introspective, well written, and the man could pen a love song. He dabbles a little in politics, emotion dissection, and desperation. It’s surprisingly deep for someone I knew only for his solo and Wham! hits.
He had a strong sense of melody to go with all this, too. I honestly couldn’t really find much to criticise. While I still wouldn’t consider myself an overall fan of George Michael’s work, I would recommend this to any fan of pop/acoustic music.
4
Aug 19 2024
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The Specials
The Specials
This album made me realise I do not listen to enough ska. The Specials are a band I was 100% familiar with, yet never went out of my listen to. So kudos to this list for bringing them right back to my attention again.
The whole LP is an explosion of fantastic originals and covers, punk lyricism, ska, rock, reggae, and a sprinkle of old school rock ‘n’ roll. Musically it’s a really fun tracklist filled with addictive melodies and infectious bass lines. The raw vocals of Terry Hall only add to its overall character - as he walks a fine line between British flavoured fun and a take-no-bullshit attitude.
Along with its diverse musical elements, ‘The Specials’ is also a commentary on society at large at the time; as if it is a bit of a time capsule of its own standing up as part of a movement against the rise of the right wing in the late 70’s. Which in turn makes it a fairly relevant record in today’s climate, as well (as they say, the more things change, the more things stay the same). There is no subtlety whatsoever in their observations here, and it only helps to elevate the album, in my opinion.
I gave this around two listens today, as I wasn’t quite sure how to rate it. It was teetering between a 4 and a 5. But I ultimately decided on a 4; as I feel some tracks bog the record down just a little bit (‘Blank Expression’, and the overly long ‘Too Much Too Young’).
Overall, however, I absolutely consider this a must listen for anybody.
4
Aug 20 2024
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Tusk
Fleetwood Mac
I always find double albums interesting. When a band challenges themselves to pour their material across two discs for a studio release it usually goes one of two ways. It's either going to be a magnum opus, or it's going to be a slog to get through. Some of my favourites happen to be double LP's (the absolutely crazy Beatles' 'White Album', and the masterful Pink Floyd's 'The Wall'). While others I find to be a struggle and musically stretched very thin (The Who's 'Tommy' or the Chilli Peppers' 'Stadium Arcadium').
Where does Fleetwood Mac's huge follow up to 'Rumours' stand? Somewhere in the middle. It is a good record overall, However it also struggles to keep its own momentum going.
I keep seeing 'Tusk' compared to other punk albums around the time. But Fleetwood Mac's sound and lyricism is far too polished and light to compare, in my opinion. It works in their favour when it's a tight record like 'Rumours', where the tracklist can somewhat flow nicely. Not so much here on 'Tusk', where they're throwing different ideas at the wall and everything feels much more loose.
It feels like they took more inspiration from the Beach Boys' 'Smiley Smile' moreso than punk albums at the time, where it's more a collage of ideas rather than a whole piece of work.
Putting all of that aside, though, there is some gems in the 20 songs on offer, particularly the ballads. Over & Over, Sara, Storms, Never Make Me Cry, Beautiful Child are phenomenal tracks and well worth listening to on their own - vocals, melodies, and lyrics are absolutely on point. While on the other end most of the faster rock/pop songs are good, even if a lot of them are largely forgettable; although some of the experimentation should be appreciated.
I know this album has some acclaim to it. To me, though, had they condensed the tracklist down and focused on tidying some things up production-wise, this probably would have been (personally) ranked among the band's best work. As it is, 'Tusk' is simply a 'good' album, lacking some focus, with some percentage of it having standouts.
3
Aug 21 2024
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Ocean Rain
Echo And The Bunnymen
I really enjoyed this album. It was like if The Cure from the late 80’s had a child with Depeche Mode.
You can hear, pretty clearly, the influence these guys had on the music landscape. The orchestral arrangements are fantastic, and so easy on the ears with fitting mystical lyrics to fit like a glove. It's atmospheric, it's ethereal in nature, and artistic yet still accessible. Ian McCulloch's vocals are stellar here, as well. He has a raw, dark, and cool feel to his voice that he seems to effortlessly pull off.
Everything here just seems to click between the elements so well. There’s catchy pop/rock songs to help keep an average listener’s attention as it weaves you around different tempos and moods. Standout tracks for me include: Nocturnal Me, Crystal Days, The Killing Moon, and Ocean Waves.
I would highly recommend this album.
4
Aug 22 2024
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Let England Shake
PJ Harvey
With elements of alternative rock - filled with raw energy, vocals bordering on flavours of Bjork and Kate Bush - still ultimately making it her own voice, and anti-war messages paired with societal commentary: ‘Let England Shake’ is an experience I don’t think comes along very often.
The music and production has layers of surprising complexity, but nothing that makes things inaccessible. It only adds to many songs throughout the tracklist. The compositions are both melodic and filled with subtle additions that turn almost every re-listen into something new.
It’s a feat I feel many artists/bands have trouble pulling off without coming off as pretentious. But PJ Harvey powers through it with no apologies.
Her lyrics are both hard hitting and engaging. Her voice is both ethereal and wonderful to listen to. The topics on her agenda range from commentary on war and a love for her country with an undeniable patriotic disappointment in it; which I think we can all relate to.
This is another album I gave two listens to when it popped up; and both times it felt like I was hearing something new in it. ‘Let England Shake, is an absolutely fantastic LP.
4
Aug 23 2024
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Calenture
The Triffids
Even with some of the albums I have given low ratings to so far, I can at least understand the significance of the work. 'Hybrid Theory'? Sure. T. Rex's 'Electric Warrior'? Totally. Elvis? Not a fan, but I can at least see his impact in the time of his peak. The Triffids 'Calenture', though? This is the first time I have audibly asked the question: "why is this on the 1001 albums list?".
It's not that this LP is even that bad. There isn't anything particularly worth criticizing or praising as everything it has to offer is pretty inoffensive. It's just that there is nothing interesting happening here, and it is one of the most borderline cliche albums I have ever heard.
It sounds like they listened U2's 'The Joshua Tree' a few months earlier and thought: "Yeah, let's make something like that". I could almost sense the road each melody would take in every song, I was unbelievably bored by nearly every composition, and the band isn't exactly pushing any production envelopes.
I gave it a fair chance, as I did everything else so far, and I literally couldn't wait for it to be over.
As mentioned above, "inoffensive" is a word I used to describe 'Calenture', and that matches up with the lyrics and vocals of lead singer David McComb. He's a pretty good singer, just not a particularly standout one; and he's a good lyricist, he just has nothing very interesting to say (at least in this album).
Personally, for me - as a baseline, if the music itself is rather simple or nothing special - the lyrics need to really stand out. And if lyrics aren't exactly an artist/band's speciality - then the music and production needs to impress.
'Calenture' does neither of these things for me.
2
Aug 24 2024
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Moondance
Van Morrison
This album was... okay? I didn't love it. But I also didn't hate it.
This is one of those LP's where it feels like the artist/band were having a few music sessions and just rolled with that for the release. Which can really go either way. It's either going to be a pretty fun listen, or it's not going to click overall with a wide audience other than the artist/band performing it; or just the hardcore fans. Maybe I'm in the minority seeing as 'Moondance' was a commercial success. That, or Van Morrison does just happen to have a huge hardcore fanbase.
Once you have listened to the opener 'And It Stoned Me' - You can rest assured that this is pretty much the entire tracklist. If you like that 70's rhythm and blues sound, sprinkled with some jazzy rock 'n' roll, this will probably be right up your alley. Theoretically, this should be up my alley. But there's just not enough of a punch or variety to bring it up a level a level for me.
Lyrically everything is fine. Morrison really goes in on spirituality and contextualises his observations and commentary through that spirituality. It feels inspired, hopeful, and his lyrics do flow nicely. For me, personally, I just can't find much to relate with.
It's a decent album; and I think even if you're not a fan you can find something to appreciate here. Would I consider it a "must listen", though? Not really. But I also wouldn't tell you to ignore it completely.
3
Aug 25 2024
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Moon Safari
Air
The marriage of electronic and acoustic throughout this album makes it an addictive tracklist. While overall everything is pretty down-tempo, low-fi, and chill - it certainly doesn’t mean it isn’t engaging. In fact you would be rewarded for giving ‘Moon Safari’ a few listens because there is so much going on, yet no one element is overpowering the other.
The opening track ‘La femme d’argent’ does an excellent job in setting the mood. It’s atmosphere, jazz, and acoustic elements all combining to take you on an eclectic journey of moods and melodies. Almost like it’s a 7 minute preview of what is to come.
The tracks featuring vocals by Beth Hirsch are absolute standouts. Her voice matches exactly what the French duo are trying to execute here. By far their most melodic and acoustic works on the album. Yet still containing the depth and complexity of the production.
The haunting’ Talisman’, the ethereal ‘Kelly Watch The Stars, the jazzy ‘Ce matin-là’, the spacey ‘New Star In The Sky’. There is just so much packed into its 10 tracks that I’m absolutely amazed ‘Moon Safari’ doesn’t feel overstuffed or overindulgent.
‘Moon Safari’, if possible, would probably be best listened to on an actual sound system. It really is a 45 minute experience that will most certainly paint a world inside your head as it goes on; and how vibrant that world is will depend on how powerful the sound you’re working with is.
This album is one of the “gold standard” examples of an entire genre; in this case electronica. Even if it’s not quite your cup of tea, it should be listened to by anyone who enjoys similar works.
4
Aug 26 2024
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Live At The Star Club, Hamburg
Jerry Lee Lewis
This the second time two things have happened:
1) I had to find the “proper” version on YouTube as Apple Music only has a version with 8 tracks (I never really want to cheap out on any record that pops up). This happened with ‘Black Monk Time’ a few weeks ago.
2) This is the second live album so far. The first being Thin Lizzy’s ‘Live And Dangerous’.
So I’ll say the same thing I said the first time: I never really know how to rate live albums, as I don’t frequently see them as “essential” listening in an artist’s discography.
So I can only judge this based on the quality of the performance with the ceiling I usually offer such LP’s; and it’s pretty solid offering.
It’s mostly rock ‘n’ roll classics that you have probably heard a million other bands cover before. The performances are pretty flawless and, man it is energetic as hell. So I don’t really have a problem with it. But like Thin Lizzy’s ‘Live And Dangerous’, your opinion on it will probably depend on how big of a Jerry Lee Lewis fan you are.
So for me it’s a 3. I don’t dislike it at all, I just don’t think there’s anything here to make me want to listen to it numerous times.
3
Aug 27 2024
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Neon Bible
Arcade Fire
I remember when this album was heavily marketed around release and I completely wrote it off as pretentious indie crap after only hearing little snippets here and there. But now that I'm a little older, and willing to broaden my horizons, I'm looking back at younger me wondering what an idiot I was; because 'Neon Bible' is a legitimately fantastic album.
I know the majority of this was recorded in a renovated church; and I usually dismiss these kind of methods as inconsequential to the listener. However, I feel it actually does make an impact here. The sound oozing from each song is entirely gothic, ethereal, and mystical; almost as if you can visualize the very interior of the building they recorded in. You can feel all of this particularly in the double-crescendo the album leads to with 'No Cars Go' and 'My Body Is A Cage' - with their intense orchestral arrangements and haunting instrumentation.
While Butler takes lead vocals on most tracks, I think where it really shines is when Chassagne joins him. They work incredibly well together. 'Black Wave/Bad Vibrations' and 'The Well And The Lighthouse' are also huge standouts as a result. It's also lyrically introspective, filled with questions regarding the commercialization of religion/faith, and chilling societal commentary; and it all combines into a very rewarding listen.
At its very base, this would fall into the crowd of many albums college kids raved about around that time. But Arcade Fire set themselves apart by, not just adding the above elements, but exceeding with them.
4
Aug 28 2024
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Colour By Numbers
Culture Club
Oh man, the second ‘Karma Chameleon’ played I was transported to just about every family party/event I have ever been to. It might actually be one of my most listened to songs, and that stat has the context of it being completely against my will. Not that it’s a bad song - I can see why it was a hit. But the fact it continues to dominate in the wedding/christening/birthday circles to this day kind of amazes me.
It’s also a reason why I was ready to write this album off, to be honest. But it actually surprised me.
Boy George has a pretty good voice. He really shines in the ballads: Changing Every Day’, ‘That’s The Way’ (with Helen Terry absolutely killing it, as well), Victims - are all phenomenal tracks in their own right with very well written lyrics to back them up.
But I find where this album stumbles is in its more up tempo tracks. Sure, ‘Karma Chameleon’ has somehow stood the test of the time. But the rest of the selection on this tracklist has not particularly aged well. They’re enjoyable, but you wouldn’t exactly need to be asking the question “what decade are these songs are from?”. It’s a total product of its time, and I think there’s other artists/bands who moreso deserve some of the recognition for the popularisation of this sound.
Overall it’s a decent album. If you’re a fan of that pure 80’s pop flavour, you’ll definitely find it here. I can personally appreciate it on some level as an overall project, even if it’s not completely for me.
3
Aug 29 2024
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Siembra
Willie Colón & Rubén Blades
I wouldn’t have previously considered salsa a genre I would go out of my way to listen to. But my god, if ‘Siembra’ doesn’t make me consider doing a deeper dive then I don’t know what will. This is a fantastic album in nearly all areas.
It’s got funk, it’s got soul, it’s got jazz. Putting aside the language barrier (which I believe is easily broken down in the world of music), the music alone is worth listening to. Funky bass lines, phenomenal horn sections, salsa flavoured piano; and phenomenal vocals layered on top of it to create this absolute VIBRANT world through the 7 songs on offer.
I’m pretty sure we’re all mostly familiar with the track ‘Plàstico’. But looking deeper into the tracklist, other standouts include ‘Buscando Guayaba’, with its infectious melody. The absolute banger ‘Pedro Navaja’. The mid-tempo, and best vocal showcase in the album, ‘Ojos’. And the fantastic, epic crescendo of the title track ‘Siembra’.
It’s an absolute blast from start to finish. I don’t really hand out 5/5 ratings too often (at least so far during this list). But this one was easy to place in that exclusive club. And if my experience is anything to go by, it is a perfect place to start a potential journey into this genre.
5
Aug 30 2024
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Blood Sugar Sex Magik
Red Hot Chili Peppers
Red Hot Chili Peppers seem to be a band defined by three specific eras:
1) The early period where their music was just awful; they were clearly a band still figuring things out, and were on a record label willing to give them a few chances.
2) Their commercial and artistic peak (starting with this album); where everything seemed to click for their sound, their voice, and their songwriting.
3) The bland years; pretty much anything from Stadium Arcadium up to today is all pretty forgettable and generic. As if they're just in autopilot mode and are happy enough with that.
'Blood Sugar Sex Magik', you could argue, is RHCP at their best. I personally think you could take any album from this one all the way to 'By The Way' and there would be a valid reason for each one to be ranked on equal footing. I suppose where this one shines is in the fact that it still has that raw old school Peppers sound, but they have finally smoothened out the edges to clean things up.
If I was ranking this album just based on the first 11 tracks alone, this would have been an easy 5. You get so much packed into them, it’s not even funny. Bass slaps galore, funky ass guitar riffs, hard hitting drums, and Anthony showing just how much range as a vocalist he has when he wants to show it off.
Rock ‘n’ roll, funk, almost post-punk esque, and some surprisingly great ballads fill those first 11 tracks. From the loose 'The Power of Equality' opener, the beautiful slow tempo 'Breaking The Girl', 'I Could Have Lied', to the big hits 'Give It Away' and 'Under The Bridge'. You honestly couldn't ask for a better explosion of music from any band; and I'm not even that big of a RHCP fan.
Then the album shows its only problem: at 17 tracks 'Blood Sugar Sex Magik' is just a little too bloated. It feels like a good 3-4 tracks towards the end could have been trimmed out to improve on the overall experience. Not that they're bad songs, it just feels like they were out of new ideas by that point. It causes a damn near perfect LP to lose the steam they worked hard to build up.
It's still damn good overall, though: 4/5
4
Aug 31 2024
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My Generation
The Who
Part of me has always written The Who off. They came up during an era of UK bands such as The Rolling Stones, The Beatles, and The Kinks; bands that seemed to totally shape the music of the 60's and heavily influenced the 70's. I just never really understood what set them apart from their peers and every attempt to make a genuine effort to deep dive into their discography I always found myself bored at some point.
But their debut album is somewhat of an exception. Don't get me wrong, I still don't see what makes The Who a particular stand out band; despite that, though, 'My Generation' is very much a fun LP.
The covers are actually fantastic: 'I Don't Mind', 'Please Please Please', and 'I'm A Man'. They do a great a job of showcasing the band's strengths in all areas; straight up rock 'n' roll with solid vocals. While the two big original hits 'My Generation' and 'The Kids Are Alright' have stood the test of time as fantastic anthems. I also need to highlight the album's final track 'The Ox', an improvised instrumental that ends everything on an absolute banger of heavy drums, fast tempo, and grungy guitars.
The rest of the tracklist is a bit hit or miss, leaning more towards hits. 'Much Too Much', 'It's Not True', and 'A Legal Matter' are all catchy bops, even if they are a little trapped in their own time. The only real problem I have with 'My Generation' is that the first couple of original tracks are rather forgettable.
While this certainly won't convert me into being a fully fledged fan of The Who, I'm also not going to deny that they mostly hit the mark with their debut album; even if it does kind of drown in the sea of more influential works from this era.
4
Sep 01 2024
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My Beautiful Dark Twisted Fantasy
Kanye West
In 2024 - absolutely fuck Kanye West.
But there was a large period of time when he was arguably the best hip hop artist out there. His ‘College’ trilogy is damn near perfection; hits upon hits upon hits, with albums that had plenty of commentary layered on some of the best production the world had ever heard.
Even when he switched things up with ‘808’s & Heartbreak’, he knocked it out of the park. But this album? This album is by far his magnum opus. He took everything great from the ‘Graduation’ trilogy and ‘808’s’ and mashed them into their final form.
Is it self indulgent? 100%. Is it a bit preachy at times? Absolutely. But is it an undeniably great listen. You betcha!
The first 5 songs are just a masterclass. The haunting, angry, almost gospel-esque opener ‘Dark Fantasy’, the guitar riff heavy ‘Gorgeous’, the hard hitting ‘Power’ (with a genius sample of King Crimson putting the icing on the cake), the guaranteed hit ‘All Of The Lights’, and the pure hip hop beat driven ‘Monster’. They all paint the overall picture of the album; phenomenal lyrics, masterful rapping, and mindblowing production.
Some people claim ‘MBDTF’ is front loaded. But I don’t believe that. ‘Runaway’, ‘Blame Game’, ‘Lost In The World’ are also top tracks. In fact, there isn’t a single bad section to be found here, in my opinion.
The collaborations also need to be mentioned, as he works with the likes of Jay-Z, Nicki Manaj, Bon Iver, John Legend, prime Rick Ross, and Pusha T. Rarely do you ever see such a varied and killer list of artists featured on an LP; never mind the fact it’s only 13 tracks, too.
Sure, revisiting this album is bittersweet given Kanye’s recent antics. But I think you can often separate the artist from the art. And ‘My Beautiful Dark Twisted Fantasy’ isn’t just a great hip hop record, it’s quite simply one of the greatest albums of all time; and I have held that belief since it was released.
5
Sep 02 2024
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Happy Sad
Tim Buckley
This is one of the few times I found myself bored to tears.
On paper, this totally sounded like my kind of jam. But most tracks are far longer than they need to be, the mood and vibe is far too slow and chill to the point where damn near every song starts to blend into one another, and it’s simply not musically interesting enough in any respect to leave an impression on me. It all just feels rather..: lifeless?
Sure, ‘Buzzin’ Fly’ is okay, ‘Dream Letter’ is probably as interesting as the lyrics get on the album, and ‘Gypsy Woman’ is where Buckley finally musters up some of the energy needed to boost up the jazz elements. But overall it’s just an absolute slog.
It feels like a huge step down from his previous album ‘Goodbye And Hello’, which is a really solid effort. I also feel he executed this particular sound far better on his follow up ‘Blue Afternoon’. But hey, props to him for doing something different at the time. ‘Happy Sad’ just simply does not click with me in any way whatsoever.
1
Sep 03 2024
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Zombie
Fela Kuti
Bar one dud so far, albums between #31-40 have been absolutely stellar.
I didn't know what to expect when this one popped up, but one thing I certainly wasn't expecting was a killer jazz/funk LP leading us into the simple, yet effective messaging each song contains. Every track is around 12-14 minutes and they all follow the same formula: about 7-8 minutes of fantastic loose jazz instrumentation that is both funky and smooth as hell, crescendoing with reggae flavoured vocals and a return to the instrumentation to finish things out.
A quick read of the fallout this album caused is also very interesting, tragic, and really paints a picture of just how much of a controversial figure Fela Kuti was. It has given me that rabbit hole itch to dive deeper into this man's life; and his music to accompany it of course.
Much like 'Black Monk Time', which I got on this list about two weeks ago, this is one of those albums I would never have listened to or found out about unless it popped up here. So I'll repeat what I said in that review: discovering records like this is one of the big reasons I started this whole thing. It just completely opens your mind up, and turns your music tastes inside out in the best way possible.
'Zombie' is a phenomenal album that carries some heavy weight with it, and it should be listened to by anyone who likes to jump into protest anthems; because even in that realm it is a somewhat unique and powerful entry.
5
Sep 04 2024
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Ágætis Byrjun
Sigur Rós
Another undiscovered gem this week. I said it yesterday, and I'll say it again today: #31-40 on this list just keeps delivering some absolute stellar albums.
Today it is 'Ágætis Byrjun', an album I have never heard before by a band I have never heard of in Sigur Rós; and man am I happy I listened to this.
The 10 minute opening track 'Svefn-g-englar' completely sets the stage with it's easy going melodies, dreamy subtle keyboards, low-fi drums, high ethereal vocals, and orchestral backdrop. And speaking of the orchestral backdrop for this particular track, the arrangements only get more orchestral in nature as it creates this dream like journey that transcends the language barrier; almost as if you can still feel what the song is about through the music.
Other standout tracks include the amazing ballad 'Starálfur', the phenomenal "build up" song that crescendos into an epic finale 'Ný batterí', and the sheer uplifting epic 'Olsen Olsen'. It honestly feels like I have simultaneously heard it all before, yet it still feels incredibly unique.
Of course, the nature of this album being a mixture of post rock and dream pop, the sound is quite important. So I do recommend listening to this with the best possible sound set up that you have, be it speakers or good headphones. Your experience with it will be good nonetheless, but good tech behind it can enhance things quite a bit.
It's a fantastic record and well worth any chance you give it. For me, I'll definitely be buying it physically at some point.
4
Sep 05 2024
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Done By The Forces Of Nature
Jungle Brothers
You can simultaneously hear the influences that inspired this album, but you can also hear the influence this album had on hip hop/rap in the years that were to come. 'Done By The Forces Of Nature' is a hybrid record if I ever heard one; featuring infectious 80's hip hop beats, dance/funk that damn near rivals the likes of 'Earth, Wind & Fire', and unpretentious commentary on both a large societal scale and a smaller introspective scale.
While 'Jungle Brothers' aren't exactly technically proficient rappers, they more than make up for it in top notch production, strong lyricism, and an amazing pop sensibility. ‘Sunshine’, ‘What U Waitin’ 4’, ‘Acknowledge Your Own History’, ‘J.Beez Comin’ Through’, and ‘Doin’ Our Own Dang’ are all strong highlights are for me. On top of that, the instrumental track ‘Good Newz Comin’’ is an absolute banger, too.
A mixture of fun funk production and musicianship, with a layer of lyricism that addresses societal injustices and self reflection on their own part; but don’t think their lyrics lack any sense of fun, because there is plenty of that, too. It’s almost like the antithesis to the birth of gangsta rap that started with ‘Straight Outta Compton’ the year before - in which the aggression is turned down considerably in favour of more accessibility.
I feel like without these guys, you might not have had other legendary hip hop acts like Outkast, or Wu-Tang Clan. It is an underrated album judging from the fact that it did not sell on the level of their peers, nor is it talked about all that much in any circles. But its influence is totally undeniable.
The only problem is that it could have used a little trimming, as it is slightly bloated at 16 full tracks. But otherwise, it should be listened to by any fan of rap and hip hop.
4
Sep 06 2024
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Lady In Satin
Billie Holiday
This must be the oldest album I have gotten so far, and this is also quite honestly the first time an album has stunted me for words (so far). I don't quite know how to review this one.
There is absolutely nothing wrong with anything here. Billie Holiday has one of the most warm and soothing voices I have ever heard, and she matches up perfectly with the slow tempo jazz and gorgeous orchestral arrangements; all thanks to a pretty good song selection throughout the tracklist. She sings with so much soul you can tell she is heavily invested in the material she is pouring her heart into.
However, this is one of those times where I feel like I'm on the outside looking in. This isn't something I would go out of my way to listen to, but it can all be appreciated on some level; and that's where I stand regarding this album. Not my jam, but I can totally understand why people would love it and why it is on the 1001 albums list.
A high 3/5 for me.
3
Sep 07 2024
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The Velvet Underground
The Velvet Underground
I can almost forgive someone for not immediately vibing with this album if it was their first exposure to The Velvet Underground. It doesn't smack you in the face with an overt message as to why this band is held in such high regard. No. Their self titled third album is a far more subtle LP and I think it deserves more than one listen for it to click. It is the definition of a 'grower' if there ever was one.
The first 6 tracks, lyrically, cover subjects such as transgenderism, love songs, existentialism, and seeking redemption through religion (even though Lou Reed claims ‘Jesus’ is not a religious song); all layered on top of subtle, restrained experimentation that at first listen might not sound like anything special. But after another, maybe 2 more listens it can really start to open your ears up. Most of it is mellow and some of it certainly demands an attentive listener. But it is rewarding nonetheless.
The second half is where I feel ‘The Velvet Underground’ really opens up. The lyrically genius and upbeat ‘Beginning To See The Light’, the minimal and catchy ‘That’s The Story Of My Life’, the absolute attack (in the best way possible) on the ears and many other senses ‘The Murder Mystery’, and the addictive quick two minute outro ‘After Hours’. It makes the first half seem like the calm peace before a storm of elements; and it is a stronger half all the more for it.
I give this album a 4. A high 4. Because it certainly is not the band’s best work, in my opinion. But it is still a great album. It is simultaneously all-over-the-place stylistically, yet somehow feels extremely coherent. It features well written - often genius lyrics, and experimentation that doesn’t take away from it being accessible.
It may not be the best starting point for new potential fans, but it is certainly is worth visiting nonetheless.
4
Sep 08 2024
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Hot Rats
Frank Zappa
Good lord I love this album.
I recommend listening to this first and THEN reading about the production; because you’d be surprised to learn just how few musicians Zappa worked with to create these 6 songs that sound so rich and deep; it’ll blow your mind that he wasn’t using a fully fledged jazz band section you’d see in studios/theatres. Instead, he took advantage of a homemade 16 track and made heavy use of overdubs.
But putting the impressive DIY technical aspect aside, though. If you love long form, loose, fusion jazz with a sprinkle of phenomenal rock ‘n’ roll guitar work - I don’t see any reason why you wouldn’t love this. Zappa described ‘Hot Rats’ as a movie for your ears, and he isn’t wrong whatsoever.
It’s an absolute blast from start to finish. ‘Peaches en Ragalia’ almost sounds like the perfect opener to a movie, and makes a perfect transition into the incredible ‘Willie The Pimp’ - which takes you on an exciting eclectic musical journey with varied and exciting guitar work; and you can almost hear the horns being stretched to their limit.
‘Son Of Mr. Green Genes’ is a bit more retrained, yet still has that sense of anxious urgency at times. ‘Little Umbrellas’ sees things really take a more chill approach; more piano based than the other tracks featuring great use of the flute and clarinets. ‘The Gumbo Variations’ is another long form epic, putting the guitar and saxophones to incredible use. Things finish up with an almost perfect end sequence with ‘It Must Be A Camel’ - with some of my favourite drum work in the entire record.
This is definitely one of those albums that can make a listener fall in love with a particular genre. In ‘Hot Rats’ case this is long form fusion jazz. It’s a technical and musical masterpiece in almost every respect.
5
Sep 09 2024
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Physical Graffiti
Led Zeppelin
I’ll keep no secrets here; I have never been a big Led Zeppelin fan. I like a chunk of their work, and appreciate the sheer talent involved. But overall, they have always been somewhat overrated in my book. I honestly couldn’t tell you sometimes what songs belong on what album. And on top of that, my view on double albums still stands even with ‘Physical Graffiti’; double albums can be a double edged sword. They’re either absolute masterpieces or they’re musically stretched too thin.
For me, ‘Physical Grafitti’ completely falls into the latter.
I do find some tracks to be fine work: ‘Houses Of The Holy’, ‘Kashmir’, ‘In The Light’, and ‘Down By The Seaside’ are actually phenomenal and really highlight the band at their strength. Plant’s vocals are arguably at their best, there is fantastic hard hitting riffs, and great guitar solos throughout.
I just can’t help but feel had they not frankensteined a long record from previous rejects not only would this be a better listen, their later output could also have been marginally improved.
It sounds as if I don’t like ‘Physical Graffiti’ all that much, I know. I actually do like it. It just runs into the same problems a lot of double albums do; it runs out of steam and the variety in musicality needed to keep a massive project like this interesting just isn’t there.
So I give this a 3. It can be appreciated by pretty much everyone, and I know a lot of people hold it in HIGH regard, but most of it just doesn’t click with me overall; and I find a lot of their earlier work far superior.
3
Sep 10 2024
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Hotel California
Eagles
‘Hotel California’ is a super difficult album for me to rate and review. I don’t dislike this album, but I also don’t love it.
To get the good stuff out of the way: the title track and ‘Life In The Fast Lane’ are hits for a reason. The former is an absolute classic with one of the most infectious chorus’ ever put to tape, paired with phenomenal melodic guitar work to finish things up. ‘Life In The Fast Lane’, meanwhile, is just balls out rock ‘n’ roll; fun and simple.
In general the tracklist is pleasant, listenable, and accessible; and there’s a couple of surprisingly strong ballads. ‘Pretty Maids All In A Row’ and ‘The Last Resort’ are well worth a listen as it’s where the band truly flex their skill at arrangements and Don Henley’s smooth vocals really shine.
The problem I have with this album is that I just don’t see, or hear, what makes it so special or as highly revered as it is. The 70’s is an absolutely STACKED decade in terms of artists and bands who made some of the most influential music of our time. And I can’t help but feel that ‘Hotel California’ may have been as “Mall Dad Rock” back then as it is now (just to be clear, I am a late 80’s baby - so I’m making a broad assumption here).
The impression I get is that this album lives off the reputation of its commercial success (and its singles), rather than any kind of influence or shift it may or may not potentially have had on the music industry.
So in probably one of my more controversial moves I’m giving this album a 2, despite the fact I mostly enjoyed it at surface level. Because it feels like a band concerned with checking off a list of what will sell instead of crafting a project out of genuine, meaningful inspiration.
2
Sep 11 2024
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90
808 State
This is one of those cases where a piece of work just isn't for me. I love electronica, don't get me wrong. But when it is layered with house and techno it personally enters hit and miss territory; and this is very much a hit and miss album. I feel like this music belongs on a stage with lasers, CGI screens, and an audience who wants to simply vibe with it.
To sit down and give it a serious listen is a bit of an odd experience.
In general, it is good. The drum programming is complex and impressive, the keyboard work is top notch, and the sounds they're experimenting with are implemented seamlessly. Standout tracks for me: 'Cobra Bora', '808080808', and 'Sunrise'; songs that I could totally have on in the background and not complain.
I give it a 3 because I'm a sucker for good production and I appreciate it for what it is. I just probably wouldn't seek it out in the future.
3
Sep 12 2024
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Exile On Main Street
The Rolling Stones
Oh boy, this list is testing me with these double albums lately lol.
Look, I'm a fan of the Stones. I am. I'm not a hardcore fan by any means. But I enjoy the majority of their output. However, I disagree with many people and critics that this is their best album. I don't think it is. Not by a long shot. To pull off a quality and engaging double LP it either needs a reason to be such or it has to have a wide variety of musicality throughout.
The Who's 'Tommy' and Pink Floyd's 'The Wall' are rock operas that are portraying a storyline to the listener and is the backbone of the tracklist, weird interludes and all. The Beatles' 'White Album' is an absolute pool of variety ranging from rock 'n' roll, campfire bizzare-ness, ballads in all shapes and forms, a sprinkle of country, and even heavy metal. The Rolling Stones' 'Exile On Main St.' is simply an extended tracklist of that that bluesy rock 'n' roll sound they have perfected; it's great, but rarely do they ever step out of their comfort zone and the album suffers from being far too bloated for its own good.
Personal highlights: 'Rocks Off', 'Sweet Virginia', 'Torn and Frayed', 'Happy', 'Ventilator Blues', 'All Down The Line', and 'Shine A Light'.
In all honesty, there isn't a single bad track on here. So by that metric 'Exile On Main St.' should be perfection in and of itself. But I'm judging this as an entire piece of work. And as an album it is disjointed, despite the polished production and great songs. It is far longer than it has any reason to be. And does not have the variety or concept to keep it engaging.
I know the Stones are on this list a few times, so I'm excited about those albums. For me, personally, 'Exile On Main St.' is an album that you can pick out your favourites and playlist them, but is somewhat hard to sit down and listen to as an overall project.
3/5
3
Sep 13 2024
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Darkness on the Edge of Town
Bruce Springsteen
Perhaps I just wasn't in the mood at the time of listening, or perhaps some may feel I'm just not giving this album much of a chance. But I have never particularly understood the musical appeal of Bruce Springsteen. I mean I do to some degree, but I don't understand how he has transcended to the legacy level he is at today. I thought this album might turn my opinions around when I was forced to actually listen to a full LP, but it didn't.
Almost nothing clicked with me here. The lyrics were... fine? They flow well enough and are fairly uplifting. But the instrumentation is still that quintessential heartland rock Bruce Springsteen sound that just doesn't interest me whatsoever. Sure - it's got nice melodies, efficient musicianship, and slick production. But 'Darkness On The Edge Of Town' is very much a product of that late 70's/early 80's radio rotation. Hell, you can even say it's very much a product of every rock radio station today - as the hosts rev up a Springsteen track for the drive home from the office.
Thank god we can load up streaming services in our cars nowadays.
Springsteen was influential for his lyrics and how he was able to relate to the "everyman" and their struggles, which I can totally respect; and it's all over this LP. But musically I always found him and his band to be very bog standard, bringing nothing truly unique to the table. I thought about giving this album a 1/5. However, I'll admit it isn't egregiously bad or anything; so it gets bumped to a 2/5. I'm just simply not a fan of the sound the "Boss" goes for.
Heartland rock just isn't my jam.
2
Sep 14 2024
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Tommy
The Who
Whew… ANOTHER double album and ANOTHER Who album.
Crazy times.
There’s two things I will preface this quick review with:
1) Double albums? Hit or miss. It’s either a masterpiece or stretched too thin, rarely falling in the middle. I think I have mentioned this a couple of times in my reviews of other double LP’s.
2) I’m not a big fan of The Who, but do like parts of their discography.
With that said, ‘Tommy’ is a strange beast of a project. I don't think it's quite the first rock opera unleashed to the public. But it certainly is ONE of the first; and I can only imagine what the general reaction was upon first listen.
The storyline throughout the songs certainly has its fair share of twists and turns. We go on this journey of Tommy Walker, born in the song 'It's A Boy', whose father killed his mother's lover upon returning home ('1921'). Which causes the titular character to go deaf, dumb, and blind. He gets exposed to physical abuse by the hand of his 'Cousin Kevin', and has his mind opened to acid thanks to the Gypsy in 'The Acid Queen'; and that's just within the first half of the tracklist.
The second half starts with the uncomfortable duo tracks 'Do You Think It's Alright?' and 'Fiddle About', where Tommy is sexually abused by his Uncle. We learn Tommy is phenomenal at pinball ('Pinball Wizard'), and move swiftly onto him smashing the mirror to free himself. He then goes on to become a religious cult leader due to this miracle, and it all ends with his followers revolting against him in the brilliant finisher 'We're Not Gonna Take It'.
There's enough strong tracks here to keep the album interesting enough, and musically it’s The Who - so it's that rock ‘n’ roll sound we all know from them. The fact it’s an actual storyline helps to bump the engagement up.
Where I find ‘Tommy’ slips up is the fact The Who’s, and Townshend‘s, ambition (and this album is AMBITIOUS) tends to outweigh the musical limitations of the band. Not in terms of talent, mind you. Moreso regarding their mind for production at the time and overall sound. But that’s not to say they’re not pushing themselves to limits they had not previously.
As I stated previously, there’s certainly enough strong tracks meticulously placed along the album to ensure ‘Tommy’ doesn’t lose steam across its massive 24 tracks, and there’s a few that are absolute staples of The Who’s catalogue. I can also respect the philosophy, at the time, of wanting to move away from having 3 minute singles slapped onto an LP with little to no concept.
It genuinely seems like The Who found their artistic calling with ‘Tommy’.
So while this double album is musically stretched thin to a degree, there’s no denying the risk the band took here. Nor can you deny its strange and wonderful ambition, even if they don't always quite reach it. In my book, this is a 3.5/5 album, but I am rounding it up to a 4. It’s worth a listen for historical significance alone, the fact that it’s also pretty good is a bonus.
4
Sep 15 2024
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The Healer
John Lee Hooker
This is about as blues as blues gets.
I don’t know if it’s a controversial take or not, but I often like blues when it’s combined with something else. To listen to a full album of it in its most pure form isn’t really my cup of tea.
Everything is pretty solid here, regardless. And I can at least respect it on an artistic level. The collaborations are strong, particularly ‘I’m In The Mood’ with Bonnie Raitt, ‘Cuttin’ Out’ and Canned Heat. The three solo tracks that end the LP are also worth checking out.
The problem for me is that things just sort of blend together as the album goes on. I seem to have had very little reaction to ‘The Healer’. It just kind of zipped by and I was left underwhelmed. Totally get why people would like it, but it’s not really my vibe at all.
As I said above, I like blues when it’s fused to something else. But I find it hard to get through when it’s the only flavour on offer.
An appreciative 3/5.
3
Sep 16 2024
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1999
Prince
This is often labelled as Prince’s first real breakthrough album and I would tend to agree. Not to say his previous efforts were bad at all, but they were certainly more hit and miss than anything. ‘1999’ marked a Prince that had a lot more conviction in his sound and production techniques. I also believe this is the first time ‘The Revolution’ were credited with him; and it became the start of his era of critical and commercial success.
I’m going to make a pretty bold comparison here. Michael Jackson’s ‘Thriller’ is often defined as his definitive work just as much as ‘Purple Rain’ seems to be viewed as Prince’s magnum opus. But like Jackson’s ‘Off The Wall’ album, Prince’s ‘1999’ is pretty much the damn near perfect predecessor that enters an underrated territory because it immediately flies under the shadow of the follow up’s massive success.
‘1999’ has no bad tracks and is pretty much 11 songs that are absolute bangers. The self titled opener and ‘Little Red Corvette’ are legendary tracks. The former using a keyboard riff that sticks with you long after the song is over, and an infectious, infamous chorus to boost it up even more. The latter seems almost designed for radio and MTV, but doesn’t lose the depth of production Prince is famous for.
The absolute bop that is ‘Let’s Pretend We’re Married’, the funk driven ‘D.M.S.R.’, the beautiful power ballad ‘Free’, the atmospheric, fast, and smokey ‘All The Critics Love U In New York’, and the phenomenal finisher ‘International Lover’ where Prince really lets his strong vocals shine. Nearly every track features infectious bass lines, impressively programmed drums, and some of the absolutely best funk driven guitar work you have ever heard.
‘1999’ is simply great from start to finish, and could make the case for Prince’s best work. It is self indulgent (it is Prince, after all). It is confident. And it is unapologetic. But it wouldn’t be the album it is without these qualities; and it is worth listening to for any fan of fantastic production and dance-y psychedelic funk.
5/5
5
Sep 17 2024
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This Year's Model
Elvis Costello & The Attractions
I feel like if you want to take a serious dive into the history of music, much of Elvis Costello's work is a right of passage. As this album shows, he is very much an artist with his own voice, but you can hear the influences as he wears his heart on his sleeve; taking the sounds that influence and interest him and concocting his own experiment out of them.
This is definitely one of his better works. Lyrically, Costello is more angry here than usual. Reflecting on a very materialistic society through songs like 'This Year's Girl', 'Pump It Up', and (I don't Want To Go To) Chelsea. Reflections on the struggles of early manhood in 'The Beat'. Dealing with alienation in 'Lipstick Vogue'. And voicing strong criticism while portraying a fear of the far right in 'Night Rally'.
This is all packed onto music that is energetic, catchy, with a raw punk attitude; but also feels extremely well produced. He takes elements of punk, channels them through a slick filter, and you can almost hear every pop punk band of the late 90's/early 2000's owing much of their sound and ideas to Costello.
Personal highlights: 'This Year's Girl', 'The Beat', 'You Belong To Me', (I Don't Want To Go To) Chelsea, 'Lip Service', 'Living In Paradise', and 'Night Rally'.
It's a pretty packed album with only a couple of songs letting it down a smidge. But otherwise, this is pretty prime Elvis Costello.
4/5
4
Sep 18 2024
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Pretzel Logic
Steely Dan
When this popped up my reaction was “I know the name Steely Dan, but I don’t think I know any of their material”. Then ‘Rikki Don’t Lose That Number’ opened the album and I immediately knew it from the odd radio play here and there.
‘Pretzel Logic’ has every element of it that would scream “yeah, that’s up your alley”. However, I found this to be a bit underwhelming. As if the half hour just zipped on by followed by my immediate “well that’s that then” reaction.
This is essentially jazz fused with rock and blues and at no point could you say any of it is particularly bad. But nothing here is lighting my musical tastes on fire. The musicianship is efficient, the vocals are fine, and the production is clean and slick. It's just that if there was ever an album that could join the pool of standard sounding dad rock from the otherwise golden age of the 70's that hasn't aged particularly well: 'Pretzel Logic' would be it.
This is one of those LP's where I can appreciate it for its elements, as I didn't dislike the album. But I simply wouldn't be seeking this out when there's a plethora of similar artists who made far more interesting music. So it rounds up into the appreciative 3/5 category for me.
Good, but ultimately forgettable.
3